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Intermountain Bozeman presents Donizetti’s The Daughter of the Regiment sung in English with English supertitles Setting In Tyrol, a region in the Alps, in the early nineteenth century. Story Sergeant Sulpice, the big cheese in a regiment of French soldiers just about to pull out of Tyrol, is a little worried about Marie, the daughter of the regiment. She's been spotted several times now, talking to a handsome young local. But, by regimental decree as well as her own vow, Marie can only marry a soldier from the regiment. So when her sweetheart Tonio is captured by the regiment as an enemy spy, he enlists in order to be eligible to marry his beloved. It's the happiest day of his life, he sings, when he becomes both soldier and affianced. But his happiness is short- lived. Encountering the regiment, the Marquise of Birkenfeld, a local aristocrat, recognizes in Marie a child long missing from her wealthy family. She whisks Marie off to be made into a lady, leaving the regiment forlorn and Tonio devastated.

Some months later, the Marquise is trying to arrange a marriage between Marie and the young Duke of Krackentorp. Her efforts to transform Marie into a dazzling society debutante, however, have failed to take; Marie prefers singing her old regimental ditties to the latest popular Romantic songs. Tonio, meanwhile, has worked his way up in the regiment to lieutenant's rank; he has also been doing some snooping and has determined that the Marquise's story about Marie's birth is untrue. On the night of Marie's arranged wedding he bursts into the Birkenfeld chateau, accompanied by the regiment, and confronts the Marquise. The secret of Marie's origin is revealed, society snobbery is foiled, true love wins out, and everybody salutes the French flag! Synopsis courtesy of Seattle Opera Tips - If you’ve never been to an opera or even if you have here are a few insights that we hope make your experience more enjoyable. • Dress to be comfortable. Many people enjoy dressing up in formal attire, but this is optional and people attend the opera wearing all varieties of clothing. • Give yourself plenty of time to find parking and be in your seat before the downbeat. Latecomers will only be seated at suitable breaks - often not until intermission. • Ushers can help you find your seat if you’re unfamiliar with the performance venue. Ushers can also help with directions to restrooms or other ammenities or assist if there are concerns with other patrons. • Turn off, tune in. Switch off all electronic devices including cell phones, smart phones, iPods, pagers, and digital watch alarms. • Leave your camera at home and do not use the camera function on your phone during a performance. This can be very disturbing to the artists and audience members. • If you think you might need a breath mint or cough drop, unwrap it before the performance. • Settle in and get comfortable before the performance begins. Read your program. This tells you what performance you’re about to see, who created it, and who’s performing in it. You might like to read a synopsis of the opera before it begins. • Clap as the lights are dimmed and the conductor appears and bows to the audience. Watch as the conductor then turns to the orchestra and takes up his or her baton to signal the beginning of the opera. • Listen to the prelude or before the curtain rises. It is part of the performance and an opportunity to identify common musical themes that may reoccur during the opera. • Families and children are welcome provided they are able to sit still and quitely and enjoy the show, allowing those around them the same. • Supertitles are projected above the stage. These are not literal translations of the text, but are a synopsis of the story line. • Feel free to laugh when something is funny – this is a performance and you are expected to respond! • Applaud [or shout Bravo (men), Brava (women), Bravi (ensemble)] at the end of an or chorus piece to show your enjoyment of it. The end of a piece can be identified by a pause in the music. • Finally, have fun and enjoy the show. CHARACTERS AND CAST

MARIE Marie is an energetic, tomboyish young orphan who was adopted and raised by the French army and considers the soldiers her family. Now a young woman, she serves as their mascot and vivandière (A French name for women attached to military regiments as sutlers or canteen keepers. Their actual historic function of selling wine to the troops and working in canteens led to the adoption of the name 'cantinière' which came to supplant the original ‘vivandière' starting in 1793, but the use of both terms was common in French until the mid-19th century, and 'vivandière' remained the term of choice in non-French-speaking countries such as the USA/CSA, Spain, Italy, and Great Britain.). Played by: Lindsay Russell, . She is the winner of the grand prize at Florida Grand Opera’s Young Patronesses of Opera Competition and is a graduate of the Manhattan School of Music.

TONIO A young Tyrolean peasant, Tonio saves Marie’s life and falls in love with her. When he is captured by the French army, who mistakes him for a spy, he confesses his love and Marie comes to his defence, attesting to his character and admitting that she loves him back. Tonio later joins the 21st regiment, becoming a soldier so that he may be eligible to marry his beloved Marie. Played by: Eric Bowden, tenor. A graduate of Sam Houston State University with a M.M. from Manhattan School of Music. Eric is the real life husband of Lindsay Russell. The couple is thrilled to be able to perform together in The Daughter of the Regiment.

THE MARQUISE of BERKENFELD A somewhat haughty and fragile woman, the marquise turns out to be a relative of Marie’s. Shocked by the girl’s crude manners picked up from a life among soldiers, she insists that Marie come to live with her and receive a proper education. Marie, an obedient girl, reluctantly agrees. Played by: Cindy Sadler, mezzo-soprano. Ms. Sadler is a graduate of the University of Texas. She resides in Austin with her husband, and their two opera-hating Dachshunds, Samson and Dalila.

SERGEANT SULPICE Sulpice is the good-natured sergeant of the 21st regiment of the French army. He acts as a friendly father figure for Marie, but feels it’s best she live with her true family when the marquise requests it. Played by: Joseph Beutel, bass. Mr. Beutel, is an Indiana native. He has often been praised for his richness of vocal color and versatility on stage.

HORTENSIUS The steward of the marquise. Played by: Phillip Gay, bass. A native of Beaumont, Texas, Mr. Gay received his B.M. in Vocal Performance from Lamar University, and his M.M. in Vocal Performance from University of Illinois at Urbana- Champaign. DIRECTOR & CONDUCTOR

STAGE DIRECTOR, Jeffrey Marc Buchman has a Bachelor of Music degree in Opera from the Boston Conservatory of Music and a Master of Music degree in Voice from the Peabody Conservatory of Music. He is originally from Baltimore, Maryland.

CONDUCTOR, Michael Sakir is a native of Northern California. He holds bachelor degrees in Piano Performance and Music History from the Oberlin Conservatory of Music and a graduate degree in Orchestral Conducting from The Boston Conservatory

Glossary of Opera Terms

Act: a section of the opera that is then divided into scenes. Aria: means “air” in Italian. This is a piece of music written for a one singer (soloist), usually with instrumental accompaniment. Aside: a secret comment from an actor directly to the audience that the other characters cannot hear. Baritone: the middle singing range of the male voice. Bass: the lowest singing range of the male voice. Basso buffo: a bass singer who specializes in comic characters. Basso profundo: the most serious bass voice. Baton: short stick that the conductor uses to lead the orchestra. : Italian phrase literally meaning “beautiful singing.” A traditional Italian style of singing emphasizing tone, phrasing, passages, and technique. Also refers to the written in this style. Blocking: directions given to the performers for movement on stage. Bravo: a form of appreciation shouted by audience members at the end of a particularly pleasing performance. Technically, bravo refers to a male performer, brava refers to a female performer and bravi refers to many performers. Buffo: from the Italian for “buffoon.” A singer of comic roles (basso-buffo) or a comic opera (opera-buffa.) : a passage of singing, often at the end of an aria, which shows off the singer’s vocal ability. : a castrated male prized for his high singing voice. Choreographer: the person who designs the steps of a dance. Chorus: a group of singers of all vocal ranges, singing together to support the vocal leads. Classical: the period in music which comes after the Baroque and before the Romantic, roughly from the birth of Mozart to shortly after the death of Beethoven. It represents the greatest standardization in orchestral form and tonality. Coloratura: elaborate ornamentation of music written for a singer using many fast notes and trills. Also used to describe a singer who sings this type of music. Composer: the individual who writes all the music for both voice and instrument. : a nineteenth century term referring to secondary or supporting roles such as confidantes, messengers, and matchmakers. : the lowest female voice range. Conductor: the person responsible for the musical interpretation and coordination of the performance. The conductor controls the tempo, the dynamic level, and the balance between singers and orchestra. You will see this person standing in the orchestra pit conducting the musicians and the singers. Countertenor: a male singer with the highest male voice range, generally singing within the female contralto or mezzo-soprano range. Crescendo: a build in the volume or dynamic of the music. Cue: a signal to enter or exit from the stage, to move or to change lighting or scenery; or a signal given by the conductor to the musicians. Curtain Call: occurs at the end of the performance when all the cast members and the conductor take bows. This can occur in front of the curtain or on the open stage. Designer: a production can have two or three designers: a lighting designer, a costume designer, a set designer, or someone who is both costume and set designer. They work closely with the stage director to give the production a distinctive look. : literally goddess in Italian. An important female opera star. The masculine form is divo. Dress Rehearsal: the final rehearsal before opening night, includes costumes, lights, makeup, etc. Sometimes it is necessary to stop for adjustments, but an attempt is made to make it as much like a regular performance as possible. Duet: music that is written for two people to sing together. Encore: a piece that is performed after the last scheduled piece of a concert. An encore is usually performed because the audience wants to hear more music even though the concert is over. Ensemble: a part of the opera written for a group of two or more singers. This may or may not include the chorus. : the upper part of a voice in which the vocal cords do not vibrate completely. Usually used by males to imitate a female voice. Finale: the last musical number of an opera or an act. Grand Opera: spectacular of the Romantic period, lavishly staged, with a historically based plot, a huge cast, an unusually large orchestra, and ballet. It also refers to opera without spoken dialogue. Helden: German prefix meaning “heroic.” Can also apply to other voices, but usually used in “heldentenor.” House: the auditorium and front of the theatre excluding the stage and backstage areas. Impresario: the proprietor, manager, or conductor of an opera or concert company; one who puts on or sponsors an entertainment manager, producer. Interlude: a short piece of instrumental music played between scenes and acts. Intermission: a break between acts of an opera. The lights go on and the audience is free to move around. Librettist: the writer of the opera’s text. : Italian for little book. It is the text or story of the opera. Lyric: used to describe a light-to-medium weight voice with an innocent quality, capable of both sustained, forceful singing and delicate effects. : means “master” in Italian. Used as a courtesy title for the conductor (male or female). Mark: to sing, but not at full voice. A full length opera is very hard on a singer’s voice, so most performers mark during rehearsals. During the dress rehearsal singers try to sing at full voice for part, if not all, of the rehearsal. Mezzo-soprano: the middle singing range for a female voice. Motif or : a recurring musical theme used to identify an emotion, person, place, or object. Opera: a dramatic presentation which is set to music. Almost all of it is sung, and the orchestra is an equal partner with the singers. Like a play, an opera is acted on stage with costumes, scenery, makeup, etc. Opera is the plural form of the Latin word opus, which means “work.” Opera buffa: an opera about ordinary people, usually, but not always comic. First developed in the18th century. : a serious opera. The usual characters are gods and goddesses, or ancient heroes. Opera-comique: () a form of opera which contains spoken dialogue. Operetta: lighthearted opera with spoken dialogue, such as a musical. Orchestra: an ensemble, led by a conductor, that is comprised of string, woodwind, brass and percussion instruments. Orchestra pit: sunken area in front of the stage where the orchestra sits. Overture: an orchestral introduction to the opera played before the curtain rises. Usually longer than a prelude and can be played as a separate piece. Pitch: how high or low a note sounds. Prelude: a short introduction that leads into an act without pause. : literally first lady in Italian. The leading woman in an opera. Because of the way some of them behaved in the past, it often refers to someone who is acting in a superior and demanding fashion. The term for a leading man is primo uomo. Principal: a major singing role, or the singer who performs such a role. Production: the combination of sets, costumes, props, and lights, etc. Props: objects carried or used on stage by the performers. Proscenium: the front opening of the stage which frames the action. Quartet: four singers or the music that is written for four singers. Raked Stage: a stage that slants downwards towards the audience. : lines of dialogue that are sung, usually with no recognizable melody. It is used to advance the plot. Rehearsal: a working session in which the singers prepare for public performance. Score: the written music of an opera or other musical work. Serenade: a piece of music honoring someone or something, an extension of the traditional performance of a lover beneath the window of his mistress. : the rehearsal held on to the main stage for the first time. The entire opera is sung through without any costumes or blocking. Soprano: the highest range of the female singing voice. Soubrette: pert young female character with a light soprano voice. : a lyric voice that has the power and incisiveness for dramatic climaxes. Stage Areas: refers to the various sections of the stage as seen by those on stage. Stage Director: the person in charge of the action on stage. He or she shows the singers, chorus and cast where and when to move and helps them create their characters. The stage director develops a concept for how the entire per- formance should look and feel. He or she works closely with the stage managers, lighting designer, set designers, costume designer, and wig and makeup artists to bring his or her vision into reality. Stage Manager: the person who coordinates and manages elements of the performance. Supernumeraries: appear on stage in costume in non-singing and usually, nonspeaking roles. Supertitles: the English translations of the opera’s language that are projected above the stage during a perfor- mance to help the audience follow the story, much like subtitles in a foreign film. Synopsis: a short summary of the story of the opera. Tableau: occurs at the end of a scene or act, when all cast members on stage freeze in position and remain that way until the curtain closes. It looks as though that moment has been captured in a photograph. Tempo: speed of the music. Tenor: the highest natural adult male voice. Trill: very quick alternation between two adjacent notes. See coloratura. Trio: an ensemble of three singers or the music that is written for three singers. Trouser role: the role of an adolescent boy or young man, written for and sung by a woman, often a mezzo-sopra- no. Also known as a pants role. : describes a realistic style of opera that started in Italy at the end of the 19th century. INTERMOUNTAIN OPERA BOZEMAN FACT SHEET

Mission: • Established in 1979, the mission of the Intermountain Opera Association (IOB) of Bozeman is to promote and share the joy of opera in Montana and surrounding areas by providing affordable, high quality opera performances to audience members of all ages, and to provide educational outreach to area schools and communities.

Background: • The first IOB performance was La Traviata in May of 1979. Verity Bostwick (Bozeman vocal instructor), Robert Stivanello (New York stage director and costume and set company owner) and Pablo Elvira (MET baritone with a home in Bozeman), were instrumental in the establishment of the organization. Shortly after beginning, Mrs. Robert W. Martin, Jr. (Ginny) came on the board and helped solidify the establishment of the organization, ensuring opera’s presence in Montana.

Schedule: • From the start, IOB has done at least one major production a year. We now offer two fully-staged operas (October and May), a musical theater production (February), and performances at Sweet Pea or SLAM (August), with other offerings in Bozeman, Livingston, and Big Sky, as we’re able.

Productions: • IOB imports nationally and internationally known conductors, directors, and guest artists in lead roles. These artists work with talented local orchestra members and chorus, production staff and volunteers for a very short two-week rehearsal win- dow to bring the opera to life on the stage of the 1100-seat Willson Auditorium. • Productions vary from traditional opera to comedy, operetta, and contemporary productions. Whether sung in a foreign language or in English, subtitles are used, so that everyone can follow the story.

Annual education and outreach: • Behind-the-scenes field trip for local 5th graders; in-school workshops and classes with guest artists • 50% student discounts on tickets; $10 student group ticket packages; financial assistance for busing school groups • Wonderlust opera presentation prior to each major production • Pre-opera lectures • At First Glance – open rehearsal at beginning of opera production process • Opera Run – Kids’ Run, 5K, and 10 mile; held before the fall opera; features singers at water stations serenading runners

Finances: • Tickets – to keep tickets affordable, prices have risen less than the cost of productions, and ticket revenue covers a small portion of expenses. Prices range from $15 to $75, with discounts for students, first-time attendees, and season tickets. • Annual Budget – approximately $350,000 • Income breakdown – contributions 31%, ticket sales 26%, fundraising 25%, grants 12%, ads, 4%, other sales 2% • Expense breakdown – artistic fees and services 41%, production costs 24%, admin costs 24%, marketing 11% • Economic impact – $809,000 per year, with $462,000 retained in Gallatin County (source: 2014 Economic Analysis done by Northern Rocky Mountain Economic Development District)

Intermountain Opera Bozeman PO Box 37, Bozeman, MT 59771 * 406-587-2889